M.C. Eschar's Legacy

Total Page：16

File Type：pdf, Size：1020Kb

Doris Schattschneider • Michele Emmer (Editors) M.C. Eschar's Legacy A Centennial Celebration Collection of articles coming from the M.C. Escher Centennial Conference, Rome 1998 |y Springer Contents Preface Doris Schattschneider Celebrating Escher V Michelle Emmer Escher, in Rome, Again IX Escher's World H.S.M. Coxeter Escher's Fondness for Animals 1 Bruno Ernst (Hans de Rijk) Selection is Distortion 5 Michele Emmer Ravello: An Escherian Place 17 Douglas R. Hofstadter Mystery, Classicism, Elegance: an Endless Chase After Magic .... 24 J. Taylor HoUist and Doris Schattschneider M.C. Escher and C.v.S. Roosevelt 52 Anne Hughes Escher's Sense of Wonder 63 Claude Lamontagne In Search of M.C. Escher's Metaphysical Unconscious 69 Marjorie Senechal Parallel Worlds: Escher and Mathematics, Revisited 83 Mark Veldhuysen M.C. Escher in Italy: The Trail Back 92 XIV Contents Escher's Artistic Legacy S. Jan Abas Islamic Patterns: The Spark in Escher's Genius 100 Victor Acevedo Space Time with M.C. Escher and R. Buckminster Fuller 113 Sandro Del Prete Between Illusion and Reality 125 Jos De Mey Painting After M.C. Escher 130 Michele Emmer M.C. Escher: Art, Math, and Cinema 142 Tamas F. Farkas Organic Structures Related to M.C. Escher's Work 150 Robert Fathauer Extending Escher's Recognizable-Motif Tilings to Multiple-Solution Tilings and Fractal Tilings 154 Helaman Ferguson with Claire Ferguson A Circle Limit in Stone 166 Kelly M.Houle Portrait of Escher: Behind the Mirror 175 Eva Knoll Life After Escher: A (Young) Artist's Journey 189 Mat juska Teja Krasek Sharing some Common Interests of M.C. Escher 199 Makoto Nakamura New Expressions in Tessellating Art: Layered Three-Dimensional Tessellations 207 Istvan Orosz The Mirrors of the Master 215 Peter Raedschelders Tilings and Other Unusual Escher-Related Prints 230 Marjorie Rice Escher-Like Patterns from Pentagonal Tilings 244 Contents XV Rinus Roelofs Not the Tiles, but the Joints: A little Bridge Between M.C. Escher and Leonardo da Vinci 252 Claudio Seccaroni and Marco Spesso Architecture, Perspective and Scenography in the Graphic Work of M.C. Escher: From Vredeman de Vries to Luca Ronconi 265 Richard A. Termes Hand with Reflective Sphere to Six-Point Perspective Sphere 275 Escher's Scientific and Educational Legacy Douglas Dunham Families of Escher Patterns 286 H.S.M. Coxeter The Trigonometry of Escher's Woodcut Circle Limit III 297 Jill Britton Escher in the Classroom 305 Victor J. Donnay Chaotic Geodesic Motion: An Extension of M.C. Escher's Circle Limit Designs 318 Jane Eisenstein and Arthur L. Loeb Rotations and Notations 334 George Escher Folding Rings of Eight Cubes 343 Istvan Hargittai Dethronement of the Symmetry Plane 353 Scott Kim Computer Games Based on Escher's Spatial Illusions 366 Vladimir A. Koptsik Escher's World: Structure, Symmetry, Sense 379 Kevin Lee Adapting Escher's Rules for "Regular Division of the Plane" to Create TesselMania!® 393 Jean-Frangois Leger M.C. Escher at the Museum: An Educator's Perspective 408 XVI Contents John F. Rigby Escher, Napoleon, Fermat, and the Nine-point Centre 420 Marjorie Senechal The Symmetry Mystique 427 Valentin E. Vulihman Escher-Like Tessellations on Spherical Models 442 Solution to Scott Kim's puzzle 448 About the Authors 449.

Copy Link

Recommended publications

De Divino Errore ‘De Divina Proportione’ Was Written by Luca Pacioli and Illustrated by Leonardo Da Vinci
De Divino Errore ‘De Divina Proportione’ was written by Luca Pacioli and illustrated by Leonardo da Vinci. It was one of the most widely read mathematical books. Unfortunately, a strongly emphasized statement in the book claims six summits of pyramids of the stellated icosidodecahedron lay in one plane. This is not so, and yet even extensively annotated editions of this book never noticed this error. Dutchmen Jos Janssens and Rinus Roelofs did so, 500 years later. Fig. 1: About this illustration of Leonardo da Vinci for the Milanese version of the ‘De Divina Proportione’, Pacioli erroneously wrote that the red and green dots lay in a plane. The book ‘De Divina Proportione’, or ‘On the Divine Ratio’, was written by the Franciscan Fra Luca Bartolomeo de Pacioli (1445-1517). His name is sometimes written Paciolo or Paccioli because Italian was not a uniform language in his days, when, moreover, Italy was not a country yet. Labeling Pacioli as a Tuscan, because of his birthplace of Borgo San Sepolcro, may be more correct, but he also studied in Venice and Rome, and spent much of his life in Perugia and Milan. In service of Duke and patron Ludovico Sforza, he would write his masterpiece, in 1497 (although it is more correct to say the work was written between 1496 and 1498, because it contains several parts). It was not his first opus, because in 1494 his ‘Summa de arithmetic, geometrica, proportioni et proportionalita’ had appeared; the ‘Summa’ and ‘Divina’ were not his only books, but surely the most famous ones. For hundreds of years the books were among the most widely read mathematical bestsellers, their fame being only surpassed by the ‘Elements’ of Euclid.
[Show full text]
Simple Rules for Incorporating Design Art Into Penrose and Fractal Tiles
Bridges 2012: Mathematics, Music, Art, Architecture, Culture Simple Rules for Incorporating Design Art into Penrose and Fractal Tiles San Le SLFFEA.com [email protected] Abstract Incorporating designs into the tiles that form tessellations presents an interesting challenge for artists. Creating a viable M.C. Escher-like image that works esthetically as well as functionally requires resolving incongruencies at a tile’s edge while constrained by its shape. Escher was the most well known practitioner in this style of mathematical visualization, but there are significant mathematical objects to which he never applied his artistry including Penrose Tilings and fractals. In this paper, we show that the rules of creating a traditional tile extend to these objects as well. To illustrate the versatility of tiling art, images were created with multiple figures and negative space leading to patterns distinct from the work of others. 1 1 Introduction M.C. Escher was the most prominent artist working with tessellations and space filling. Forty years after his death, his creations are still foremost in people’s minds in the field of tiling art. One of the reasons Escher continues to hold such a monopoly in this specialty are the unique challenges that come with creating Escher type designs inside a tessellation[15]. When an image is drawn into a tile and extends to the tile’s edge, it introduces incongruencies which are resolved by continuously aligning and refining the image. This is particularly true when the image consists of the lizards, fish, angels, etc. which populated Escher’s tilings because they do not have the 4-fold rotational symmetry that would make it possible to arbitrarily rotate the image ± 90, 180 degrees and have all the pieces fit[9].
[Show full text]
Leonardo Universal
Leonardo Universal DE DIVINA PROPORTIONE Pacioli, legendary mathematician, introduced the linear perspective and the mixture of colors, representing the human body and its proportions and extrapolating this knowledge to architecture. Luca Pacioli demonstrating one of Euclid’s theorems (Jacobo de’Barbari, 1495) D e Divina Proportione is a holy expression commonly outstanding work and icon of the Italian Renaissance. used in the past to refer to what we nowadays call Leonardo, who was deeply interested in nature and art the golden section, which is the mathematic module mathematics, worked with Pacioli, the author of the through which any amount can be divided in two text, and was a determined spreader of perspectives uneven parts, so that the ratio between the smallest and proportions, including Phi in many of his works, part and the largest one is the same as that between such as The Last Supper, created at the same time as the largest and the full amount. It is divine for its the illustrations of the present manuscript, the Mona being unique, and triune, as it links three elements. Lisa, whose face hides a perfect golden rectangle and The fusion of art and science, and the completion of the Uomo Vitruviano, a deep study on the human 60 full-page illustrations by the preeminent genius figure where da Vinci proves that all the main body of the time, Leonardo da Vinci, make it the most parts were related to the golden ratio. Luca Pacioli credits that Leonardo da Vinci made the illustrations of the geometric bodies with quill, ink and watercolor.
[Show full text]
Leonardo Da Vinci's Study of Light and Optics: a Synthesis of Fields in The
Bitler Leonardo da Vinci’s Study of Light and Optics Leonardo da Vinci’s Study of Light and Optics: A Synthesis of Fields in The Last Supper Nicole Bitler Stanford University Leonardo da Vinci’s Milanese observations of optics and astronomy complicated his understanding of light. Though these complications forced him to reject “tidy” interpretations of light and optics, they ultimately allowed him to excel in the portrayal of reflection, shadow, and luminescence (Kemp, 2006). Leonardo da Vinci’s The Last Supper demonstrates this careful study of light and the relation of light to perspective. In the work, da Vinci delved into the complications of optics and reflections, and its renown guided the artistic study of light by subsequent masters. From da Vinci’s personal manuscripts, accounts from his contemporaries, and present-day art historians, the iterative relationship between Leonardo da Vinci’s study of light and study of optics becomes apparent, as well as how his study of the two fields manifested in his paintings. Upon commencement of courtly service in Milan, da Vinci immersed himself in a range of scholarly pursuits. Da Vinci’s artistic and mathematical interest in perspective led him to the study of optics. Initially, da Vinci “accepted the ancient (and specifically Platonic) idea that the eye functioned by emitting a special type of visual ray” (Kemp, 2006, p. 114). In his early musings on the topic, da Vinci reiterated this notion, stating in his notebooks that, “the eye transmits through the atmosphere its own image to all the objects that are in front of it and receives them into itself” (Suh, 2005, p.
[Show full text]
FOR IMMEDIATE RELEASE August 18, 2015
FOR IMMEDIATE RELEASE August 18, 2015 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] North Carolina Museum of Art Presents M. C. Escher, Leonardo da Vinci Exhibitions and Related Events Raleigh, N.C.—The North Carolina Museum of Art (NCMA) presents two exhibitions opening in October 2015: The Worlds of M. C. Escher: Nature, Science, and Imagination and Leonardo da Vinci’s Codex Leicester and the Creative Mind. The Worlds of M. C. Escher features over 130 works (some never before exhibited) and will be the most comprehensive Escher exhibition ever presented in the United States. The Codex Leicester is a 500-year-old notebook handwritten and illustrated by inventor, scientist, and artist Leonardo da Vinci—the only manuscript by Leonardo in North America—that offers a glimpse into one of the greatest minds in history. “This is going to be an exciting fall at the Museum—an incredibly rare opportunity for our visitors to see not only centuries-old writings and sketches by Leonardo da Vinci, but also the work of M. C. Escher, another observer of nature and a perfect modern counterpart to Leonardo,” says NCMA Director Lawrence J. Wheeler. “These exhibitions will thrill art lovers and science lovers alike, and we hope that all visitors leave with a piqued curiosity, an ignited imagination, and a desire to more closely observe the world around them.” The Worlds of M. C. Escher: Nature, Science, and Imagination October 17, 2015−January 17, 2016 Comprising over 130 woodcuts, lithographs, wood engravings, and mezzotints, as well as numerous drawings, watercolors, wood blocks, and lithographic stones never before exhibited, The Worlds of M.
[Show full text]
Tessellations Hardscape Creations Inspired by the Works of M.C
Tessellations Hardscape Creations Inspired by the works of M.C. Escher © Chris Belthoff CSB Enterprises, 2013 December 2013 Proprietary 1 Contents Origin What inspired the efforts to produce my hardscape designs Construction How I created the first examples of pavers based on the designs December 2013 2 The Inspiration Ever since I was a child I’ve been fascinated by mathematics In particular, I was always interested in symmetry and patterns…. © Chris Belthoff Enterprises, 2013 December 2013 Proprietary 3 Symmetry and Patterns Have Existed Since Before Man Nature exhibits them all the time: © Chris Belthoff Enterprises, 2013 December 2013 Proprietary 4 ….and Humans Have Creatively Employed Symmetry and Patterns for Centuries © Chris Belthoff Enterprises, 2013 December 2013 Proprietary 5 So what is ‘Tessellation’ A tessellation is the tiling of a plane using one or more geometric shapes, with no overlaps and no gaps Tessellation or tiling is the branch of mathematics that studies how shapes, known as tiles, can be arranged to fill a plane without any gaps. More formally: a tessellation or tiling is a partition of the Euclidean plane into a countable number of closed sets called tiles, such that the tiles intersect only on their boundaries. These tiles may be polygons or any other shapes. Many tessellations are formed from a finite number of prototiles; all tiles in the tessellation are congruent to one of the given prototiles. If a geometric shape can be used as a prototile to create a tessellation, the shape is said to be able to tessellate or to “tile the plane”. Mathematicians have found no general rule for determining if a given shape can tile the plane or not, which means there are many unsolved problems concerning tessellations.
[Show full text]
How a Mathematician Started Making Movies 185
statements pioneers and pathbreakers How a Mathematician Started Making Movies M i ch e l e e M M e R The author’s father, Luciano Emmer, was an Italian filmmaker who made essentially two—possibly three—reasons. The first: In 1976 I feature movies and documentaries on art from the 1930s through was at the University of Trento in northern Italy. I was work- 2008, one year before his death. Although the author’s interest in films ing in an area called the calculus of variations, in particular, inspired him to write many books and articles on cinema, he knew he ABSTRACT would be a mathematician from a young age. After graduating in 1970 minimal surfaces and capillarity problems [4]. I had gradu- and fortuitously working on minimal surfaces—soap bubbles—he had ated from the University of Rome in 1970 and started my the idea of making a film. It was the start of a film series on art and career at the University of Ferrara, where I was very lucky mathematics, produced by his father and Italian state television. This to start working with Mario Miranda, the favorite student of article tells of the author’s professional life as a mathematician and a Ennio De Giorgi. At that time, I also met Enrico Giusti and filmmaker. Enrico Bombieri. It was the period of the investigations of partial differential equations, the calculus of variations and My father, Luciano Emmer, was a famous Italian filmmaker. the perimeter theory—which Renato Caccioppoli first intro- He made not only movies but also many documentaries on duced in the 1950s and De Giorgi and Miranda then devel- art, for example, a documentary about Picasso in 1954 [1] oped [5–7]—at the Italian school Scuola Normale Superiore and one about Leonardo da Vinci [2] that won a Silver Lion of Pisa.
[Show full text]
Fractals: a Resonance Between Art and Nature
Fractals: A Resonance between Art and Nature Richard Taylor, Ben Newell, Branka Spehar and Colin Clifford Physics and Psychology Reveal the Fractal Secrets of Jackson Pollock’s Drip Paintings The discovery of fractal patterns was an interesting advance in the understanding of nature [1, 2]. Since the 1970s many natural scenes have been shown to be com- posed of fractal patterns. Examples include coastlines, clouds, lightning, trees, rivers and mountains. Fractal patterns are referred to as a new geometry because they look nothing like the more traditional shapes such as triangles and squares known within mathematics as Euclidean geometry. Whereas these shapes are composed of smooth lines, fractals are built from patterns that recur at finer and finer magnifications, generating shapes of immense complexity. Even the most common of nature’s fractal objects, such as the tree shown in Figure 1, contrast 53 sharply with the simplicity of artificially constructed objects such as buildings. But do people find such complexity visually appealing? In particular, given peo- ple’s continuous visual exposure to nature’s fractals, do we possess a fundamental appreciation of these patterns – an affinity independent of conscious delibera- tion? The study of human aesthetic judgement of fractal patterns constitutes a rela- tively new research field within perception psychology. Only recently has research started to quantify people’s visual preferences for (or against) fractal content. A useful starting point in assessing people’s ability to recognize and create visual pat- ternsistoexaminethemethodsusedbyartists to generate aesthetically pleasing images on their canvases. More specifically, in terms of exploring an intrinsic ap- preciation of certain patterns, it seems appropriate to examine the Surrealists and their desire to paint images which are free of conscious consideration.
[Show full text]
A Mathematical Analysis of Knotting and Linking in Leonardo Da Vinci's
November 3, 2014 Journal of Mathematics and the Arts Leonardov4 To appear in the Journal of Mathematics and the Arts Vol. 00, No. 00, Month 20XX, 1–31 A Mathematical Analysis of Knotting and Linking in Leonardo da Vinci’s Cartelle of the Accademia Vinciana Jessica Hoya and Kenneth C. Millettb Department of Mathematics, University of California, Santa Barbara, CA 93106, USA (submitted November 2014) Images of knotting and linking are found in many of the drawings and paintings of Leonardo da Vinci, but nowhere as powerfully as in the six engravings known as the cartelle of the Accademia Vinciana. We give a mathematical analysis of the complex characteristics of the knotting and linking found therein, the symmetry these structures embody, the application of topological measures to quantify some aspects of these configurations, a comparison of the complexity of each of the engravings, a discussion of the anomalies found in them, and a comparison with the forms of knotting and linking found in the engravings with those found in a number of Leonardo’s paintings. Keywords: Leonardo da Vinci; engravings; knotting; linking; geometry; symmetry; dihedral group; alternating link; Accademia Vinciana AMS Subject Classification:00A66;20F99;57M25;57M60 1. Introduction In addition to his roughly fifteen celebrated paintings and his many journals and notes of widely ranging explorations, Leonardo da Vinci is credited with the creation of six intricate designs representing entangled loops, for example Figure 1, in the 1490’s. Originally constructed as copperplate engravings, these designs were attributed to Leonardo and ‘known as the cartelle of the Accademia Vinciana’ [1].
[Show full text]
Vitruvian Man and Divine Proportion
Vitruvian Man and Divine Proportion Leonardo da Vinci’s Vitruvian Man taking a fixed module, in each case, both was originally an illustration for a book on for the parts of a building and for the the works of the Roman architect Marcus whole, by which the method of symmetry Vitruvius Pollio (first century BCE), who is put to practice. For without symmetry designed many of the most beautiful and proportion no temple can have a temples in Rome. In his ten-volume work, regular plan; that is, it must have an exact De Architectura, Vitruvius established the proportion worked out after the fashion guidelines for classic Roman architecture. of the members of a finely shaped human Describing how a temple should be body.’’ planned and built, Vitruvius wrote: In this passage is found the key to the “The planning of temples depends composition of ancient architecture, which upon symmetry: and the method of this was firmly revived in the Renaissance. architects must diligently apprehend. It Echoing the ancient Greeks, the human arises from proportion (which in Greek body was seen as symbolic of all Nature, is called analogia). Proportion consists of the microcosm reflecting the macrocosm. Page 1 Thus Nature, in the form of the human Nature as follows: that is that 4 fingers body, was to be the architect’s (or the make 1 palm, and 4 palms make 1 foot, 6 artist’s) guide. In this form of architecture palms make 1 cubit; 4 cubits make a man’s (or art, engineering, or planning, etc.) height. And 4 cubits make one pace and the science of geometry is employed by 24 palms make a man; and these measures means of small whole numbers to build he used in his buildings.
[Show full text]
1875–2012 Dr. Jan E. Wynn
HISTORY OF THE DEPARTMENT OF MATHEMATICS BRIGHAM YOUNG UNIVERSITY 1875–2012 DR. LYNN E. GARNER DR. GURCHARAN S. GILL DR. JAN E. WYNN Copyright © 2013, Department of Mathematics, Brigham Young University All rights reserved 2 Foreword In August 2012, the leadership of the Department of Mathematics of Brigham Young University requested the authors to compose a history of the department. The history that we had all heard was that the department had come into being in 1954, formed from the Physics Department, and with a physicist as the first chairman. This turned out to be partially true, in that the Department of Mathematics had been chaired by physicists until 1958, but it was referred to in the University Catalog as a department as early as 1904 and the first chairman was appointed in 1906. The authors were also part of the history of the department as professors of mathematics: Gurcharan S. Gill 1960–1999 Lynn E. Garner 1963–2007 Jan E. Wynn 1966–2000 Dr. Gill (1956–1958) and Dr. Garner (1960–1962) were also students in the department and hold B. S. degrees in Mathematics from BYU. We decided to address the history of the department by dividing it into three eras of quite different characteristics. The first era (1875–1978): Early development of the department as an entity, focusing on rapid growth during the administration of Kenneth L. Hillam as chairman. The second era (1978–1990): Efforts to bring the department in line with national standards in the mathematics community and to establish research capabilities, during the administration of Peter L.
[Show full text]
Visual Mathematics
25/01/2017 Visual Mathematics http://home.gwu.edu/~robinson/vm/visual.html Go MAY 29 captures 9 May 04 23 Mar 16 2003 Visual Mathematics The official public web page for Math 80110 : Visual Mathematics A Dean's Seminar for Freshmen (This page remains: currently under construction!) Recommended Visual Math Software: Fractint: http://spanky.triumf.ca/www/fractint/fractint.html The classic PC fractal program.Try Winfract MS Windows version. Winfeed: http://math.exeter.edu/rparris/winfeed.html A great program that draws many types of fractals Tyler:http://www.superliminal.com/geometry/tyler/Tyler.htm, Draws regular and semiregular tessellations, and more. Web based applet is also available as java appliacation. MusiNum: http://www.mns.brain.riken.jp/~kinderma/musinum/musinum.html: Fractal music software. Jeff Week's amazing software including Kali and Kaleidotile : http://geometrygames.org/ Tess32: http://www.soft411.com/company/PedagoguerySoftwareInc/Tess.htm Pretzangles: http://www.pretzangles.com/index.html Anamorph Me!: http://www.anamorphosis.com (see also http://myweb.tiscali.co.uk/artofanamorphosis/AnamorphMeREADME.txt ) QuasiG: http://condellpark.com/kd/quasig.htm A program for drawing Penrose tilings Boids: http://www.navgen.com/3d_boids/ Simulation of bird flocking behavior Life32: http://psoup.math.wisc.edu/Life32.html Fully featured program to play Conway's game of Life Life http://www.robmaeder.com/projects/code/life.php Easy & basic program to play Conway's game of Life Artists & Mathematicians: Thomas Banchoff: http://www.math.brown.edu/~banchoff/ Dror BarNatan: http://www.math.toronto.edu/~drorbn/Gallery/index.html Paul Bourke: http://astronomy.swin.edu.au/~pbourke/ Brent Collins: http://www.mi.sanu.ac.yu/vismath/col/col1.htm Santiago Calatrava: http://www.calatrava.com/ Bill Casselman: http://www.math.ubc.ca/~cass/ H.
[Show full text]